I've had a bit of a difficult time moderating the comments to the Ektachrome post. Seems some feathers are getting ruffled, going both ways. On that score, just a reminder: I ask that comments respond to the post, not to other commenters, unless you're being helpful. Our Comments Section is like the "Letters to the Editor" section in a newspaper. It's not a forum.
My own [personal, individual, you don't have to agree with it] opinion, echoing a comment Carl Weese made long ago:
Black-and-white was already perfect in the film era. Digital was the coming of age of color.
...And, at least for home and enthusiast use, digital color surpasses anything the film era had to offer, with the possible exception of projected Kodachrome.
But look, we're all different, eh? There's no point in getting upset one way or the other about it. Everybody has their own preferences and opinions. Some people love film, some people love digital, some people love both. Some people have strong opinions about many different aspects of technique within analog or digital. One person's opinions about materials and ways of working don't have to affect another's.
Can strong opinions be consistent with tolerance? I think so, as long as the strong opinions don't cross the line into "true believer" territory—which is more of a psychological affliction, if you ask me—and as long as we're not talking about core beliefs like politics or religion.
Or PCs vs. Macs—if I may quote Kurtz in Heart of Darkness, "Windows! The horror! The horror!"
That might not be quite the exact quote.
Personally, for example, I never gave a fig about Ektachrome, but that doesn't mean I don't respect someone who worked with it for years, loved it, has warm memories of it, and is delighted it's coming back. I'm happy for them. Why wouldn't I be? All good if you ask me. I would never look at great work and say, "it's no good because it was shot on Ektachrome." That would never happen.
Other people might not give a fig about Plus-X and Tri-X, which I shot thousands of rolls of prior to A.D. 2000 and loved dearly. That's all right with me—they don't have to like what I liked. Well, as long as they're willing to remain open-minded about the work itself, I guess. There's that need for tolerance again.
We all tend to like what we need (or needed) for our work, I think, and whatever "nourishes our enthusiasm" in Ansel's words*. What that is can be different for different individuals. All that's needed is to remember—oh yeah—to be tolerant.
* I love that phrase—a mild, careful verbal formulation that nevertheless acknowledges the depths of photo-geekery, to which Ansel was not immune.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Al DaValle: "Thank God we all like different things!!! Think how boring the world would be if our desires, preferences and choices were the same!!!"
Tyler Monson: "'To have to despise something in order to respect something else is a sign of impotence' (Paul Strand, 1917)."
Speed: "I wonder...did anyone ever complain to Paul Simon that he hadn't written a song called 'Ektachrome'?"
Mike replies: It's little known, but that was the original title of the song. "Ektachroh-oh-ome / You give me those aaaac-curate colors." However, he couldn't find anything to rhyme with the line "All the world's a sunny day...as long as you use a Wratten 81A warming filter...."
hugh crawford: "I hadn't even heard that Ektachrome had gone away, but looking through all my 30-year-old Ektachromes and Kodachromes I really am not too interested in using Ektachrome ever again. In fact I wish I hadn't used it then. It was the abundance of labs that would clip test, push- and pull-process and do one-hour processing and have a guy on a bicycle hand-deliver it to you that made E-6 worthwhile. Kodachrome I would be interested in. Verichrome Pan would tempt me back into the darkroom."
Mike replies: You and me both, but only if they re-introduced Medalist along with it!